Part III The Soul of IBN—BATNA

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课件11：Using Language

哭泣的女人
三个音乐家
The Best of Manhattan’s Art Galleries
Step 1 Fast reading to get general ideas
Question: If you are given only one minute, how will you read the passage?
Q7: I n which museum can you see Van Gogh and Monet’s pictures?(para4-5) Museum of modern art. Q8. You can expect to see videos and films in Whitney Museum of American Art by_____.(para4-5) Contemporary video artists.
painting and
American Art artists)
sculpture
Task2: Time to have a competition. Read the given paragraphs again, try to find the answers as quickly as possible. ★Anyone who is the first to give correct answer will get a star for your group. ★
paintings
Metropolitan from ancient Countries the visual delights
Museum of to modern all over of art and ancient

T.S.Eliot艾略特英文介绍

• After a year in Paris, he returned to Harvard to pursue a doctorate in philosophy, but returned to Europe and settled in England in 1914. • The following year, he married Vivienne HaighWood and began working in London, first as a teacher, and later for Lloyd's Bank.
tripleidentitiesotherobservations1917年荒原thewasteland1922年诗集19091925poems190919251925年圣灰星期三ashwednesday1930年老负鼠的猫经oldpossum?sbookpracticalcats1939年焦灼的诺顿burntnorton1941年四个四重奏fourquartets1943年诗集collectedpoems1962年lovesongalfredprufrockmodernistmovement岩石therock1934年cathedral1935年家庭聚会thefamilyreunion1939年鸡尾酒会thecocktailparty1950年老政治家theelderstatesman1958年tripleidentitiessacredwood神木essaysorder风格及秩序论文集elizabethanessays伊丽莎白论文集afterstrangegods拜异教之神influenced1theimagistmovement2thesymbolistmovementarthursymonsenglishcriticmatthewarnoldinfluencemostsuccessfulliterarydictatoramericanliteraryhistorywhowieldedmostdecisiveinfluenceoverliterarydevelopmentlongtime

萨特-《死无葬身之地》

萨特-《死无葬身之地》郑克鲁金志平译螺旋校对[演员介绍]卡诺里（法国抵抗运动游击队员）吕茜（法国抵抗运动游击队员）昂利（法国抵抗运动游击队员）索比埃（法国抵抗运动游击队员）弗朗索瓦（法国抵抗运动游击队员，*15岁）若望（法国抵抗运动游击队长）朗德里约（维西政府警察）克洛谢（维西政府警察）贝勒兰（维西政府警察）维西政府预狱警三至四名第一景一个由天窗照亮的顶楼，乱七八糟放着一些杂物：几只箱子，一只旧炉子，一个裁缝用的人体模型。

卡诺里斯和索尔比埃坐着，一个坐在箱子上，另一个坐在旧凳子上。

吕丝坐在炉子上。

他们都带着手铐。

弗朗索瓦来回走动，他也戴着手铐。

昂立睡着，躺在地上。

第一场卡诺里斯、索尔比埃、弗朗索瓦、吕丝，昂利弗朗索瓦：你们究竟说不说话呀？索尔比埃：（抬头）你要我们说什么？弗朗索瓦：不管什么都行，只要发出点儿声响。

（突然发出一种刺耳的通俗音乐。

那是楼下的无线电。

）索尔比埃：喏，声响来了。

弗朗索瓦：不要这样的声响，那是他们的声响。

（他重新走动，突然站住）啊！索尔比埃：又怎么啦？弗朗索瓦：他们听得见我说话，心里想：嘿，这是他们中间第一个变得神经质的。

卡诺里斯：那么，你就别神经质。

坐下来。

把手放在膝盖上，这样手腕会好过些。

然后别开口。

想法子睡一觉或者思索一下。

弗朗索瓦：有什么用呢？（卡诺里斯耸耸肩膀。

弗朗索瓦重新走动）索尔比埃：弗朗索瓦！弗朗索瓦：呃？索尔比埃：你的鞋子格格作响。

弗朗索瓦：我故意让它们格格作响。

（稍停。

他来到索尔比埃面前，站住）你到底在想什么？索尔比埃：（重新抬头）要我向你说出来吗？弗朗索瓦：（瞧着他，略微退缩）不，别说出来。

索尔比埃：我在想那个大喊大叫的小姑娘。

吕丝：（突然从梦中惊醒）什么小姑娘？索尔比埃：农庄里的小姑娘。

他们带走我们的时候，我听见她在喊叫。

火已经烧到楼梯上了。

吕丝：农庄里的小姑娘？不应该提起这件事。

索尔比埃：还有另外许多人也死了，是些孩子和妇女。

不过我没有亲耳听到他们死时的叫声。

歌剧简介

1 啊，花已凋零——贝利尼歌剧《梦游女》中阿米娜的咏叹调（1楼）2 啊，上帝，给我力量——比才歌剧《卡门》中米卡埃拉的咏叹调（4楼）3 爱情乘着玫瑰翅膀——威尔第歌剧《游吟诗人》中丽昂诺拉的咏叹调（6楼）4 求爱神给我安慰——莫扎特歌剧《费加罗的婚礼》中伯爵夫人的咏叹调（7楼）5 别说我,尊敬的人——莫扎特歌剧《唐璜》中安娜的咏叹调（9楼）6 纯净的天使——威尔第歌剧《命运之力》中莱奥诺拉的咏叹调（10楼）7 多奇怪——威尔第歌剧《茶花女》中薇奥列塔的咏叹调（12楼）8 多谢,好友们——威尔第歌剧《西西里晚祷》中爱蕾娜的咏叹调（21楼）9 厄尔南尼,我们私奔吧——威尔第歌剧《厄尔南尼》中爱尔薇拉的咏叹调（22楼）10 愤怒,我的愤怒——佩格莱西歌剧《女仆主妇》中塞尔皮娜的咏叹调（23楼）11 复仇的痛苦——莫扎特歌剧《魔笛》中夜后的咏叹调（24楼）12 姑娘的秋波——多尼采蒂歌剧《唐·帕斯夸勒》中诺莉娅的咏叹调（25楼）13 挂满了柔软帐幕——普契尼歌剧《曼侬·列斯库》中曼侬的咏叹调（26楼）14 她抬头仰望——威尔第歌剧《假面舞会》中奥斯卡的咏叹调（27楼）15 可爱的名字——威尔第歌剧《弄臣》中吉尔达的咏叹调（31楼）16 离家去远方——卡塔拉尼歌剧《瓦蕾》中瓦蕾的咏叹调（32楼）17 妈妈被杀害——乔尔达诺歌剧《安德烈·谢尼埃》中玛达蕾娜的咏叹调（33楼）18 漫步街上——歌剧《绣花女》中穆塞塔的咏叹调（34楼）19 美妙时刻已来临——莫扎特歌剧《费加罗婚礼》种苏珊娜的咏叹调（7楼）20 那天深夜在大海上——博依托歌剧《梅菲斯特》中玛格丽塔的咏叹调（36楼）21 你鞭打我吧——莫扎特歌剧《唐璜》中彩琳娜的咏叹调（9楼）22 你那冰凉的心——普契尼歌剧《图兰朵》中柳儿的咏叹调（37楼）23 你无情的背叛了我——莫扎特歌剧《唐璜》中爱尔薇拉的咏叹调（9楼）24 我亲爱的爸爸——普契尼歌剧《加尼·斯基基》中劳莱塔的咏叹调（38楼）25 晴朗的一天——普契尼歌剧《蝴蝶夫人》中巧巧桑的咏叹调（44楼）26 人们叫我咪咪——普契尼歌剧《绣花女》中咪咪的咏叹调（34楼）27 上帝啊!给我安宁——威尔第歌剧《命运之力》中莱奥诺拉的咏叹调（10楼）28 胜利归来——威尔第歌剧《阿依达》中阿依达的咏叹调（45楼）29 圣洁女神——贝利尼歌剧《诺尔玛》中诺尔玛的咏叹调（46楼）30 圣母玛丽亚——威尔第歌剧《奥赛罗》中苔丝狄蒙娜的咏叹调（47楼）31 失去妈妈的孩子——普契尼歌剧《修女安吉里卡》中安吉里卡的咏叹调（48楼）32 是分手的时候了——多尼采蒂歌剧《军中女郎》中玛丽亚的咏叹调（49楼）33 死亡啊!——蓬皮耶利歌剧《乔贡达》中乔贡达的咏叹调（50楼）34 他那温柔的声音——贝利尼歌剧《清教徒》中爱尔薇拉的咏叹调（51楼）35 万籁无声——多尼采蒂歌剧《拉美摩尔的露契亚》中露契亚的咏叹调（57楼）36 为艺术,为爱情——普契尼歌剧《托斯卡》中托斯卡的咏叹调（58楼）37 我去死,先求你——威尔第歌剧《假面舞会》中阿美莉娅的咏叹调（27楼）38 我是作家忠实的仆人——契雷亚歌剧《阿德里亚娜·莱库弗》（59楼）39 夜深沉——威尔第歌剧《游吟诗人》中莱昂诺拉的咏叹调（6楼）40 一个女孩正十五——莫扎特歌剧《女人心》中黛斯碧娜的咏叹调（60楼）41 永别了,快乐的梦——威尔第歌剧《茶花女》中维奥列塔的咏叹调（12楼[/url]）42 在这座宫殿里——普契尼歌剧《图兰朵》中图兰朵的咏叹调（37楼）。

OSHA现场作业手册说明书

DIRECTIVE NUMBER: CPL 02-00-150 EFFECTIVE DATE: April 22, 2011 SUBJECT: Field Operations Manual (FOM)ABSTRACTPurpose: This instruction cancels and replaces OSHA Instruction CPL 02-00-148,Field Operations Manual (FOM), issued November 9, 2009, whichreplaced the September 26, 1994 Instruction that implemented the FieldInspection Reference Manual (FIRM). The FOM is a revision of OSHA’senforcement policies and procedures manual that provides the field officesa reference document for identifying the responsibilities associated withthe majority of their inspection duties. This Instruction also cancels OSHAInstruction FAP 01-00-003 Federal Agency Safety and Health Programs,May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045,Revised Field Operations Manual, June 15, 1989.Scope: OSHA-wide.References: Title 29 Code of Federal Regulations §1903.6, Advance Notice ofInspections; 29 Code of Federal Regulations §1903.14, Policy RegardingEmployee Rescue Activities; 29 Code of Federal Regulations §1903.19,Abatement Verification; 29 Code of Federal Regulations §1904.39,Reporting Fatalities and Multiple Hospitalizations to OSHA; and Housingfor Agricultural Workers: Final Rule, Federal Register, March 4, 1980 (45FR 14180).Cancellations: OSHA Instruction CPL 02-00-148, Field Operations Manual, November9, 2009.OSHA Instruction FAP 01-00-003, Federal Agency Safety and HealthPrograms, May 17, 1996.Chapter 13 of OSHA Instruction CPL 02-00-045, Revised FieldOperations Manual, June 15, 1989.State Impact: Notice of Intent and Adoption required. See paragraph VI.Action Offices: National, Regional, and Area OfficesOriginating Office: Directorate of Enforcement Programs Contact: Directorate of Enforcement ProgramsOffice of General Industry Enforcement200 Constitution Avenue, NW, N3 119Washington, DC 20210202-693-1850By and Under the Authority ofDavid Michaels, PhD, MPHAssistant SecretaryExecutive SummaryThis instruction cancels and replaces OSHA Instruction CPL 02-00-148, Field Operations Manual (FOM), issued November 9, 2009. The one remaining part of the prior Field Operations Manual, the chapter on Disclosure, will be added at a later date. This Instruction also cancels OSHA Instruction FAP 01-00-003 Federal Agency Safety and Health Programs, May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045, Revised Field Operations Manual, June 15, 1989. This Instruction constitutes OSHA’s general enforcement policies and procedures manual for use by the field offices in conducting inspections, issuing citations and proposing penalties.Significant Changes∙A new Table of Contents for the entire FOM is added.∙ A new References section for the entire FOM is added∙ A new Cancellations section for the entire FOM is added.∙Adds a Maritime Industry Sector to Section III of Chapter 10, Industry Sectors.∙Revises sections referring to the Enhanced Enforcement Program (EEP) replacing the information with the Severe Violator Enforcement Program (SVEP).∙Adds Chapter 13, Federal Agency Field Activities.∙Cancels OSHA Instruction FAP 01-00-003, Federal Agency Safety and Health Programs, May 17, 1996.DisclaimerThis manual is intended to provide instruction regarding some of the internal operations of the Occupational Safety and Health Administration (OSHA), and is solely for the benefit of the Government. No duties, rights, or benefits, substantive or procedural, are created or implied by this manual. The contents of this manual are not enforceable by any person or entity against the Department of Labor or the United States. Statements which reflect current Occupational Safety and Health Review Commission or court precedents do not necessarily indicate acquiescence with those precedents.Table of ContentsCHAPTER 1INTRODUCTIONI.PURPOSE. ........................................................................................................... 1-1 II.SCOPE. ................................................................................................................ 1-1 III.REFERENCES .................................................................................................... 1-1 IV.CANCELLATIONS............................................................................................. 1-8 V. ACTION INFORMATION ................................................................................. 1-8A.R ESPONSIBLE O FFICE.......................................................................................................................................... 1-8B.A CTION O FFICES. .................................................................................................................... 1-8C. I NFORMATION O FFICES............................................................................................................ 1-8 VI. STATE IMPACT. ................................................................................................ 1-8 VII.SIGNIFICANT CHANGES. ............................................................................... 1-9 VIII.BACKGROUND. ................................................................................................. 1-9 IX. DEFINITIONS AND TERMINOLOGY. ........................................................ 1-10A.T HE A CT................................................................................................................................................................. 1-10B. C OMPLIANCE S AFETY AND H EALTH O FFICER (CSHO). ...........................................................1-10B.H E/S HE AND H IS/H ERS ..................................................................................................................................... 1-10C.P ROFESSIONAL J UDGMENT............................................................................................................................... 1-10E. W ORKPLACE AND W ORKSITE ......................................................................................................................... 1-10CHAPTER 2PROGRAM PLANNINGI.INTRODUCTION ............................................................................................... 2-1 II.AREA OFFICE RESPONSIBILITIES. .............................................................. 2-1A.P ROVIDING A SSISTANCE TO S MALL E MPLOYERS. ...................................................................................... 2-1B.A REA O FFICE O UTREACH P ROGRAM. ............................................................................................................. 2-1C. R ESPONDING TO R EQUESTS FOR A SSISTANCE. ............................................................................................ 2-2 III. OSHA COOPERATIVE PROGRAMS OVERVIEW. ...................................... 2-2A.V OLUNTARY P ROTECTION P ROGRAM (VPP). ........................................................................... 2-2B.O NSITE C ONSULTATION P ROGRAM. ................................................................................................................ 2-2C.S TRATEGIC P ARTNERSHIPS................................................................................................................................. 2-3D.A LLIANCE P ROGRAM ........................................................................................................................................... 2-3 IV. ENFORCEMENT PROGRAM SCHEDULING. ................................................ 2-4A.G ENERAL ................................................................................................................................................................. 2-4B.I NSPECTION P RIORITY C RITERIA. ..................................................................................................................... 2-4C.E FFECT OF C ONTEST ............................................................................................................................................ 2-5D.E NFORCEMENT E XEMPTIONS AND L IMITATIONS. ....................................................................................... 2-6E.P REEMPTION BY A NOTHER F EDERAL A GENCY ........................................................................................... 2-6F.U NITED S TATES P OSTAL S ERVICE. .................................................................................................................. 2-7G.H OME-B ASED W ORKSITES. ................................................................................................................................ 2-8H.I NSPECTION/I NVESTIGATION T YPES. ............................................................................................................... 2-8 V.UNPROGRAMMED ACTIVITY – HAZARD EVALUATION AND INSPECTION SCHEDULING ............................................................................ 2-9 VI.PROGRAMMED INSPECTIONS. ................................................................... 2-10A.S ITE-S PECIFIC T ARGETING (SST) P ROGRAM. ............................................................................................. 2-10B.S CHEDULING FOR C ONSTRUCTION I NSPECTIONS. ..................................................................................... 2-10C.S CHEDULING FOR M ARITIME I NSPECTIONS. ............................................................................. 2-11D.S PECIAL E MPHASIS P ROGRAMS (SEP S). ................................................................................... 2-12E.N ATIONAL E MPHASIS P ROGRAMS (NEP S) ............................................................................... 2-13F.L OCAL E MPHASIS P ROGRAMS (LEP S) AND R EGIONAL E MPHASIS P ROGRAMS (REP S) ............ 2-13G.O THER S PECIAL P ROGRAMS. ............................................................................................................................ 2-13H.I NSPECTION S CHEDULING AND I NTERFACE WITH C OOPERATIVE P ROGRAM P ARTICIPANTS ....... 2-13CHAPTER 3INSPECTION PROCEDURESI.INSPECTION PREPARATION. .......................................................................... 3-1 II.INSPECTION PLANNING. .................................................................................. 3-1A.R EVIEW OF I NSPECTION H ISTORY .................................................................................................................... 3-1B.R EVIEW OF C OOPERATIVE P ROGRAM P ARTICIPATION .............................................................................. 3-1C.OSHA D ATA I NITIATIVE (ODI) D ATA R EVIEW .......................................................................................... 3-2D.S AFETY AND H EALTH I SSUES R ELATING TO CSHO S.................................................................. 3-2E.A DVANCE N OTICE. ................................................................................................................................................ 3-3F.P RE-I NSPECTION C OMPULSORY P ROCESS ...................................................................................................... 3-5G.P ERSONAL S ECURITY C LEARANCE. ................................................................................................................. 3-5H.E XPERT A SSISTANCE. ........................................................................................................................................... 3-5 III. INSPECTION SCOPE. ......................................................................................... 3-6A.C OMPREHENSIVE ................................................................................................................................................... 3-6B.P ARTIAL. ................................................................................................................................................................... 3-6 IV. CONDUCT OF INSPECTION .............................................................................. 3-6A.T IME OF I NSPECTION............................................................................................................................................. 3-6B.P RESENTING C REDENTIALS. ............................................................................................................................... 3-6C.R EFUSAL TO P ERMIT I NSPECTION AND I NTERFERENCE ............................................................................. 3-7D.E MPLOYEE P ARTICIPATION. ............................................................................................................................... 3-9E.R ELEASE FOR E NTRY ............................................................................................................................................ 3-9F.B ANKRUPT OR O UT OF B USINESS. .................................................................................................................... 3-9G.E MPLOYEE R ESPONSIBILITIES. ................................................................................................. 3-10H.S TRIKE OR L ABOR D ISPUTE ............................................................................................................................. 3-10I. V ARIANCES. .......................................................................................................................................................... 3-11 V. OPENING CONFERENCE. ................................................................................ 3-11A.G ENERAL ................................................................................................................................................................ 3-11B.R EVIEW OF A PPROPRIATION A CT E XEMPTIONS AND L IMITATION. ..................................................... 3-13C.R EVIEW S CREENING FOR P ROCESS S AFETY M ANAGEMENT (PSM) C OVERAGE............................. 3-13D.R EVIEW OF V OLUNTARY C OMPLIANCE P ROGRAMS. ................................................................................ 3-14E.D ISRUPTIVE C ONDUCT. ...................................................................................................................................... 3-15F.C LASSIFIED A REAS ............................................................................................................................................. 3-16VI. REVIEW OF RECORDS. ................................................................................... 3-16A.I NJURY AND I LLNESS R ECORDS...................................................................................................................... 3-16B.R ECORDING C RITERIA. ...................................................................................................................................... 3-18C. R ECORDKEEPING D EFICIENCIES. .................................................................................................................. 3-18 VII. WALKAROUND INSPECTION. ....................................................................... 3-19A.W ALKAROUND R EPRESENTATIVES ............................................................................................................... 3-19B.E VALUATION OF S AFETY AND H EALTH M ANAGEMENT S YSTEM. ....................................................... 3-20C.R ECORD A LL F ACTS P ERTINENT TO A V IOLATION. ................................................................................. 3-20D.T ESTIFYING IN H EARINGS ................................................................................................................................ 3-21E.T RADE S ECRETS. ................................................................................................................................................. 3-21F.C OLLECTING S AMPLES. ..................................................................................................................................... 3-22G.P HOTOGRAPHS AND V IDEOTAPES.................................................................................................................. 3-22H.V IOLATIONS OF O THER L AWS. ....................................................................................................................... 3-23I.I NTERVIEWS OF N ON-M ANAGERIAL E MPLOYEES .................................................................................... 3-23J.M ULTI-E MPLOYER W ORKSITES ..................................................................................................................... 3-27 K.A DMINISTRATIVE S UBPOENA.......................................................................................................................... 3-27 L.E MPLOYER A BATEMENT A SSISTANCE. ........................................................................................................ 3-27 VIII. CLOSING CONFERENCE. .............................................................................. 3-28A.P ARTICIPANTS. ..................................................................................................................................................... 3-28B.D ISCUSSION I TEMS. ............................................................................................................................................ 3-28C.A DVICE TO A TTENDEES .................................................................................................................................... 3-29D.P ENALTIES............................................................................................................................................................. 3-30E.F EASIBLE A DMINISTRATIVE, W ORK P RACTICE AND E NGINEERING C ONTROLS. ............................ 3-30F.R EDUCING E MPLOYEE E XPOSURE. ................................................................................................................ 3-32G.A BATEMENT V ERIFICATION. ........................................................................................................................... 3-32H.E MPLOYEE D ISCRIMINATION .......................................................................................................................... 3-33 IX. SPECIAL INSPECTION PROCEDURES. ...................................................... 3-33A.F OLLOW-UP AND M ONITORING I NSPECTIONS............................................................................................ 3-33B.C ONSTRUCTION I NSPECTIONS ......................................................................................................................... 3-34C. F EDERAL A GENCY I NSPECTIONS. ................................................................................................................. 3-35CHAPTER 4VIOLATIONSI. BASIS OF VIOLATIONS ..................................................................................... 4-1A.S TANDARDS AND R EGULATIONS. .................................................................................................................... 4-1B.E MPLOYEE E XPOSURE. ........................................................................................................................................ 4-3C.R EGULATORY R EQUIREMENTS. ........................................................................................................................ 4-6D.H AZARD C OMMUNICATION. .............................................................................................................................. 4-6E. E MPLOYER/E MPLOYEE R ESPONSIBILITIES ................................................................................................... 4-6 II. SERIOUS VIOLATIONS. .................................................................................... 4-8A.S ECTION 17(K). ......................................................................................................................... 4-8B.E STABLISHING S ERIOUS V IOLATIONS ............................................................................................................ 4-8C. F OUR S TEPS TO BE D OCUMENTED. ................................................................................................................... 4-8 III. GENERAL DUTY REQUIREMENTS ............................................................. 4-14A.E VALUATION OF G ENERAL D UTY R EQUIREMENTS ................................................................................. 4-14B.E LEMENTS OF A G ENERAL D UTY R EQUIREMENT V IOLATION.............................................................. 4-14C. U SE OF THE G ENERAL D UTY C LAUSE ........................................................................................................ 4-23D.L IMITATIONS OF U SE OF THE G ENERAL D UTY C LAUSE. ..............................................................E.C LASSIFICATION OF V IOLATIONS C ITED U NDER THE G ENERAL D UTY C LAUSE. ..................F. P ROCEDURES FOR I MPLEMENTATION OF S ECTION 5(A)(1) E NFORCEMENT ............................ 4-25 4-27 4-27IV.OTHER-THAN-SERIOUS VIOLATIONS ............................................... 4-28 V.WILLFUL VIOLATIONS. ......................................................................... 4-28A.I NTENTIONAL D ISREGARD V IOLATIONS. ..........................................................................................4-28B.P LAIN I NDIFFERENCE V IOLATIONS. ...................................................................................................4-29 VI. CRIMINAL/WILLFUL VIOLATIONS. ................................................... 4-30A.A REA D IRECTOR C OORDINATION ....................................................................................................... 4-31B.C RITERIA FOR I NVESTIGATING P OSSIBLE C RIMINAL/W ILLFUL V IOLATIONS ........................ 4-31C. W ILLFUL V IOLATIONS R ELATED TO A F ATALITY .......................................................................... 4-32 VII. REPEATED VIOLATIONS. ...................................................................... 4-32A.F EDERAL AND S TATE P LAN V IOLATIONS. ........................................................................................4-32B.I DENTICAL S TANDARDS. .......................................................................................................................4-32C.D IFFERENT S TANDARDS. .......................................................................................................................4-33D.O BTAINING I NSPECTION H ISTORY. .....................................................................................................4-33E.T IME L IMITATIONS..................................................................................................................................4-34F.R EPEATED V. F AILURE TO A BATE....................................................................................................... 4-34G. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-35 VIII. DE MINIMIS CONDITIONS. ................................................................... 4-36A.C RITERIA ................................................................................................................................................... 4-36B.P ROFESSIONAL J UDGMENT. ..................................................................................................................4-37C. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-37 IX. CITING IN THE ALTERNATIVE ............................................................ 4-37 X. COMBINING AND GROUPING VIOLATIONS. ................................... 4-37A.C OMBINING. ..............................................................................................................................................4-37B.G ROUPING. ................................................................................................................................................4-38C. W HEN N OT TO G ROUP OR C OMBINE. ................................................................................................4-38 XI. HEALTH STANDARD VIOLATIONS ....................................................... 4-39A.C ITATION OF V ENTILATION S TANDARDS ......................................................................................... 4-39B.V IOLATIONS OF THE N OISE S TANDARD. ...........................................................................................4-40 XII. VIOLATIONS OF THE RESPIRATORY PROTECTION STANDARD(§1910.134). ....................................................................................................... XIII. VIOLATIONS OF AIR CONTAMINANT STANDARDS (§1910.1000) ... 4-43 4-43A.R EQUIREMENTS UNDER THE STANDARD: .................................................................................................. 4-43B.C LASSIFICATION OF V IOLATIONS OF A IR C ONTAMINANT S TANDARDS. ......................................... 4-43 XIV. CITING IMPROPER PERSONAL HYGIENE PRACTICES. ................... 4-45A.I NGESTION H AZARDS. .................................................................................................................................... 4-45B.A BSORPTION H AZARDS. ................................................................................................................................ 4-46C.W IPE S AMPLING. ............................................................................................................................................. 4-46D.C ITATION P OLICY ............................................................................................................................................ 4-46 XV. BIOLOGICAL MONITORING. ...................................................................... 4-47CHAPTER 5CASE FILE PREPARATION AND DOCUMENTATIONI.INTRODUCTION ............................................................................................... 5-1 II.INSPECTION CONDUCTED, CITATIONS BEING ISSUED. .................... 5-1A.OSHA-1 ................................................................................................................................... 5-1B.OSHA-1A. ............................................................................................................................... 5-1C. OSHA-1B. ................................................................................................................................ 5-2 III.INSPECTION CONDUCTED BUT NO CITATIONS ISSUED .................... 5-5 IV.NO INSPECTION ............................................................................................... 5-5 V. HEALTH INSPECTIONS. ................................................................................. 5-6A.D OCUMENT P OTENTIAL E XPOSURE. ............................................................................................................... 5-6B.E MPLOYER’S O CCUPATIONAL S AFETY AND H EALTH S YSTEM. ............................................................. 5-6 VI. AFFIRMATIVE DEFENSES............................................................................. 5-8A.B URDEN OF P ROOF. .............................................................................................................................................. 5-8B.E XPLANATIONS. ..................................................................................................................................................... 5-8 VII. INTERVIEW STATEMENTS. ........................................................................ 5-10A.G ENERALLY. ......................................................................................................................................................... 5-10B.CSHO S SHALL OBTAIN WRITTEN STATEMENTS WHEN: .......................................................................... 5-10C.L ANGUAGE AND W ORDING OF S TATEMENT. ............................................................................................. 5-11D.R EFUSAL TO S IGN S TATEMENT ...................................................................................................................... 5-11E.V IDEO AND A UDIOTAPED S TATEMENTS. ..................................................................................................... 5-11F.A DMINISTRATIVE D EPOSITIONS. .............................................................................................5-11 VIII. PAPERWORK AND WRITTEN PROGRAM REQUIREMENTS. .......... 5-12 IX.GUIDELINES FOR CASE FILE DOCUMENTATION FOR USE WITH VIDEOTAPES AND AUDIOTAPES .............................................................. 5-12 X.CASE FILE ACTIVITY DIARY SHEET. ..................................................... 5-12 XI. CITATIONS. ..................................................................................................... 5-12A.S TATUTE OF L IMITATIONS. .............................................................................................................................. 5-13B.I SSUING C ITATIONS. ........................................................................................................................................... 5-13C.A MENDING/W ITHDRAWING C ITATIONS AND N OTIFICATION OF P ENALTIES. .................................. 5-13D.P ROCEDURES FOR A MENDING OR W ITHDRAWING C ITATIONS ............................................................ 5-14 XII. INSPECTION RECORDS. ............................................................................... 5-15A.G ENERALLY. ......................................................................................................................................................... 5-15B.R ELEASE OF I NSPECTION I NFORMATION ..................................................................................................... 5-15C. C LASSIFIED AND T RADE S ECRET I NFORMATION ...................................................................................... 5-16。

Notre dame de Paris 歌剧专辑曲目简介

ACT I 第一幕1 Ouverture 【序曲】2 Le Temps Des Cathedrales (Gringoire)【大教堂时代】唱：葛林果1482年，法国巴黎。

我们的叙述诗人葛林果将给我们讲述一个人们期望通过建造教堂从而触摸到天堂的时代。

3 Les Sans - Papiers (Clopin) 【非法移民】唱：克洛潘一群非法移民在巴黎圣母院外聚集，寻找着栖身之地。

巴黎圣母院的副主教弗洛罗，命令身为国王警卫【骑兵】队队长的菲比斯，前去驱逐那些流离失所的人们。

4 Intervention De Frollo (Frollo - Phoebus)【弗洛罗的介入】5 Bohemienne (Esmeralda) 【波希米亚女郎】唱：艾斯梅拉达艾丝梅拉达是一个个性好强而爱好争辩的吉普赛女郎。

她舞蹈着，歌唱着她吉普赛女郎的身世，而她所有的命运都已写在了她的掌纹上。

6 Esmйralda Tu Sais (Clopin) 【艾丝梅拉达你明白了】唱：克洛潘克洛潘是艾丝梅拉达从小到大的守护者。

他警告美丽的艾丝梅拉达远离那些诡计多端的男人们。

7 Ces Diamants-lа (Fleur-de-lys - Phoebus) 【钻石般的眼眸】对唱：百合，菲比斯菲比斯向来自富裕家庭的未婚妻百合求婚。

8 La Fate Des Fous (Gringoire - La Foule)【愚人庆典】唱：葛林果葛林果主持了这群野蛮人的庆典。

今晚，让我们找出最丑陋的面孔，加冕他为愚人教皇。

9 Le Pape Des Fous (Quasimodo) 【愚人教皇】唱：加西莫多由众人选出的愚人教皇却深深渴望得到艾丝梅拉达的爱。

10 La Sorciиre (Frollo - Quasimodo) 【女巫】唱：弗洛罗，加西莫多弗洛罗已深深被这美丽的异教徒姑娘所吸引。

为了能够把她诱拐到教堂中授予她神学的教育，弗洛罗命令加西莫多去绑架这个女孩。

龙枪系列阅读顺序

龙枪系列阅读顺序* 编年史三部曲(Chronicles)秋暮之巨龙(Dragons of Autumn Twilight)冬夜之巨龙(Dragons of Winter Night)春晓之巨龙(Dragons of Spring Dawning)这三本书中的故事讲述的是长枪之战。

* 龙枪传奇三部曲(Legends)时光之卷(Time of the Twins)烽火之卷(War of the Twins)试炼之卷(Test of the Twins)龙枪传奇故事接续编年史三部曲，讲述的是长枪之战结束后，雷斯林?马哲理为了实现他一直以来追求力量的野心，回到大灾变发生的时代挑战黑暗之后。

他的孪生哥哥卡拉蒙和坎德人泰斯也跟着回到那个年代阻止他的故事。

* 龙枪传承(The Second Generation)一部单独的短篇小说集。

* 夏焰之巨龙(Dragons of Summer Flame)故事发生在长枪之战很久以后。

老一辈英雄已经老去，他们的儿女成长起来，面对的是再次开始动荡的克莱恩世界。

* 灵魂之战系列(the War of Soul)落日之巨龙精装版(Dragons of a Fallen Sun-Hardcover)陨星之巨龙(Dragons of a Lost Star)亡月之巨龙(Dragons of a Vanished Moon)描写众神离开克莱恩的混乱之战之后四十年的故事。

- 传说系列(Tales)-克莱恩的魔法(The Magic of Krynn)坎德人、古力矮人和侏儒(Kender，Gully Dwarves，and Gnomes) 爱情与战争(Love and War)- 伊斯塔的统治(The Reign of Istar)-大灾变(The Cataclysm) 长枪之战(The War of the Lance)最佳的传说(The Best of Tales)传说系列的这两部都是讲述相关的短篇小说的故事。

失乐园-弥尔顿中英对照翻译

Milton, John, 1608-1674. 密尔顿，约翰，1608-1674 Electronic Text Center, University of Virginia Library 1: Of Mans First Disobedience, and the Fruit人类最初的违抗，还有那禁果2: Of that Forbidden Tree, whose mortal tast它那必死的味道3: Brought Death into the World, and all our woe,将死亡带到世上，连同我们所有的悲哀4: With loss of EDEN, till one greater Man自伊甸园失去，到更伟大的人5: Restore us, and regain the blissful Seat,修复我们，让我们重回福地6: Sing Heav'nly Muse, that on the secret top唱天堂般的音乐，在神秘的欧瑞伯山顶7: Of OREB, or of SINAI, didst inspire和西耐山顶，真正赋予那牧者灵感8: That Shepherd, who first taught the chosen Seed, 第一个教晓那些被选出的种子9: In the Beginning how the Heav'ns and Earth最初天堂与大地是如何10: Rose out of CHAOS: Or if SION Hill在一片混沌中出现：或假如锡安山11: Delight thee more, and SILOA'S Brook that flow'd 更喜爱你，那地底的溪流12: Fast by the Oracle of God; I thence恰带来神谕；我从此13: Invoke thy aid to my adventrous Song,让你助我完成那冒险之歌14: That with no middle flight intends to soar平庸者所不敢飞越的高度15: Above th' AONIAN Mount, while it pursues翻越阿诺安山，追逐着16: Things unattempted yet in Prose or Rhime.诗歌与散文里未曾尝试之事17: And chiefly Thou O Spirit, that dost prefer你，灵魂做主，更爱18: Before all Temples th' upright heart and pure,在所有庙宇之前，以正直纯粹之心19: Instruct me, for Thou know'st; Thou from the first 指引我，因你知道：你自最初20: Wast present, and with mighty wings outspread 即已在此，伸开有力的双翼21: Dove-like satst brooding on the vast Abyss鸽子般安坐在巨大的深渊前沉思22: And mad'st it pregnant: What in me is dark看穿我内心的黑暗23: Illumine, what is low raise and support;照亮那卑微，唤起并支持着我24: That to the highth of this great Argument直到这伟大的辩论25: I may assert th' Eternal Providence,我可断言永恒的天意26: And justifie the wayes of God to men.证明神对世人的方式27: Say first, for Heav'n hides nothing from thy view 预言，因天对人无所隐藏28: Nor the deep Tract of Hell, say first what cause 地狱亦是如此，言明何因29: Mov'd our Grand Parents in that happy State, 令我们的祖先自那欢乐境界30: Favour'd of Heav'n so highly, to fall off先得天宠，因违背其意31: From their Creator, and transgress his Will从他们的创造者那里堕落32: For one restraint, Lords of the World besides? 世界的主宰们竟然失去耐性33: Who first seduc'd them to that fowl revolt?引他们发动家禽般的反抗34: Th' infernal Serpent; he it was, whose guile邪恶的魔鬼，他的诡计35: Stird up with Envy and Revenge, deceiv'd因嫉妒和复仇而起，欺骗了36: The Mother of Mankinde, what time his Pride 人类的母亲，当他的自尊37: Had cast him out from Heav'n, with all his Host 将他自天堂抛弃，以他为首的38: Of Rebel Angels, by whose aid aspiring叛逆天使，因他们的热情39: To set himself in Glory above his Peers,赋予他高于同类的光荣40: He trusted to have equal'd the most High,相信他具有与最高者同等的地位41: If he oppos'd; and with ambitious aim他野心勃勃42: Against the Throne and Monarchy of God反抗神的王座和权力43: Rais'd impious War in Heav'n and Battel proud徒然在天堂骄傲的发起不敬的战争44: With vain attempt. Him the Almighty Power全能的力量45: Hurld headlong flaming from th' Ethereal Skie自天上投射熊熊烈火46: With hideous ruine and combustion down可怕的毁灭和燃烧降临47: To bottomless perdition, there to dwell无尽的毁灭，若无休止48: In Adamantine Chains and penal Fire,坚硬的锁链和惩罚之火49: Who durst defie th' Omnipotent to Arms.加于敢对全能之神挑战者50: Nine times the Space that measures Day and Night 九倍于凡人以日夜计算的时间51: To mortal men, he with his horrid crew他和他可怕的队伍52: Lay vanquisht, rowling in the fiery Gulfe被击溃，倒在烈火的深渊53: Confounded though immortal: But his doom虽不死却充满困惑：但他的厄运54: Reserv'd him to more wrath; for now the thought 使他更加愤怒；想起55: Both of lost happiness and lasting pain失去的快乐和永恒的痛苦折磨56: Torments him; round he throws his baleful eyes他以邪恶的眼神望向四周57: That witness'd huge affliction and dismay只看到巨大的痛苦和沮丧58: Mixt with obdurate pride and stedfast hate:混合着冷酷的骄傲和笃实的憎恨59: At once as far as Angels kenn he views旋以天使之眼看到60: The dismal Situation waste and wilde,荒芜凄惨的境遇61: A Dungeon horrible, on all sides round四周皆是恐怖的地牢62: As one great Furnace flam'd, yet from those flames 如巨大的洪炉，那火焰之中63: No light, but rather darkness visible没有光，只有看的见的黑暗64: Serv'd only to discover sights of woe,只为让你看见悲哀的景象65: Regions of sorrow, doleful shades, where peace悲痛的领域，阴沉的影子，66: And rest can never dwell, hope never comes永无和平与休息，人人都有的希望在这里67: That comes to all; but torture without end永不来临，只有无穷的折磨68: Still urges, and a fiery Deluge, fed仍在以燃烧不尽的硫磺，69: With ever-burning Sulphur unconsum'd:持续那烈火的狂潮70: Such place Eternal Justice had prepar'd这样的地方是永恒的正义71: For those rebellious, here their Prison ordain'd为反叛者所准备，这里注定是他们的监狱72: In utter darkness, and their portion set在绝对的黑暗中，他们的身体73: As far remov'd from God and light of Heav'n被置于离神和天堂的光明玄远之地74: As from the Center thrice to th' utmost Pole.三倍于天堂的中心到最远支柱的距离75: O how unlike the place from whence they fell!与他们坠落的地方多么的不同76: There the companions of his fall, o'rewhelm'd那和他一起坠落的，是无法抗拒的77: With Floods and Whirlwinds of tempestuous fire,有如洪水旋风般的狂暴的火焰78: He soon discerns, and weltring by his side他很快辨认出，在他之旁79: One next himself in power, and next in crime,和他一样具有权力和罪行的80: Long after known in PALESTINE, and nam'd那以后很久才在巴勒斯坦被名以81: BEELZEBUB. To whom th' Arch-Enemy,别卜西以及他们头号敌人的82: And thence in Heav'n call'd Satan, with bold words 当时在天堂被称作撒旦的，83: Breaking the horrid silence thus began.以大胆言辞打破恐怖的沉默的魔王。

[转载]多尼采蒂作品目录（11）

[转载]多尼采蒂作品⽬录（11）原⽂地址：多尼采蒂作品⽬录(11)作者：正⼀0569Tantum ergo, for tenor& winds in E flat major 圣体歌，降E⼤调为男⾼⾳和管乐⽽作。

VocalSolo Voice(s) andOrchestra0570T'aspetto ancor ("Neltuo cammin fugace"),romanza for voice &piano ，为⼈声和钢琴⽽作的浪漫曲。

VocalRomantic Music forVoice andKeyboard0571Te Deum, for children'svoices, bass & organad lib, in B flat major 感恩赞，降B⼤调为童声，男低⾳和管风琴随意处理⽽作。

VocalSolo Voice(s) andOrchestra0572Te dire adieu ("Tu pars,il faut te dire adieu"),romanza for voice &piano ，为⼈声和钢琴⽽作的浪漫曲。

VocalRomantic Music forVoice andKeyboard0573Te voglio bene assaje,canzone napoletana forvoice & piano ，为⼈声和钢琴⽽作的坎佐拉。

VocalRomantic Music forVoice andKeyboard0574Tecum principium, forsoprano (or tenor),oboe (or clarinet) &orchestra ，为⼥⾼⾳（功男⾼⾳），双簧管（或单簧管）和管弦乐队⽽作的。

1819VocalSolo Voice(s) andOrchestra0575Tecum principium, forsoprano, tenor, clarinet& orchestra in F major ，F⼤调为⼥⾼⾳，男⾼⾳，单簧管和管弦乐队⽽作。

美国文学作家&考试要点

人物:The old man, Younger waiter, Older waiter
美国小说家，“迷惘的一代”作家的代表，冰山理论Iceberg Theory，作品结尾大多是开放式，自然主义Naturalism和象征表现Symbolism，虚无nada/nothing.
1953年凭《老人与海》获得普利策奖。
侦探小说
《被窃的信件》The Purloined Letter
《莫格街谋杀案》The Murders in the Rue Morgue
《金甲虫》The Gold-Bug
喜剧小说
理论著作
《创作哲学》The Philosophy of Composition
《诗歌原理》The Poetic Principle
《要描绘一片草原······》To Make a Prairie
《最美妙的胜利感觉》Success Is Counted Sweetest
《我是无名之辈》I'm Nobody!
Stephen Crane斯蒂芬·克莱恩
Unit 10 The Open Boat《海上扁舟》
人物：船长Captain,注油工Oiler（最后死了）
作品：
Maggie: A Girl of the Streets《街头女郎麦姬》
The Red Badge of Courage《红色英勇勋章》
The Open Boat《海上扁舟》
The Bride Comes to Yellow Sky《新娘来到黄天镇》
The Blue Hotel《蓝色旅店》
Katherine Anne Porter凯萨琳·安·波特
Tender is the Night《夜色温柔》
The Crack-up《崩溃》

【中英对照】昂山素季：自由女神化作肉身 Aung San Suu Kyi - Burma's First Lady of Freedom

1962年以来，缅甸这些久经沙场的军人历经赤匪叛乱、民族分裂和西方经济制裁而巍然不倒。但他们却把这个头带鲜花的纤弱女人视做最大的敌人。他们的恐惧不无道理。“我们领袖是最完美的女性，无论在缅甸还是全世界范围内”，民盟青年部成员、教师Aye Aye Nyein说，“我们缅甸人生活在一个大监狱里，她教会我们如何赢得自由”。在公众渴望自由的背景下，我们这些拿着长焦镜头、装扮酷似好莱坞狗仔队的人，自然会遭到安全人员跟踪。那天，至少有12名特勤安全人员尾随我们，时刻通过对讲机报告我们的动向。
Aung San Suu Kyi, the 65-year-old Burmese Nobel Peace Prize laureate who was released from house arrest on Nov. 13, was not in the taxi with my two colleagues and me. But she is always carried in the hearts — and her image in the pockets, lmillions of Burmese. Among the most oppressed and impoverished people on the planet, they draw sustenance from this graceful woman who, armed only with the principle of nonviolent resistance, dares to stand up to the generals who have controlled Burma for nearly five decades. For 15 of the past 21 years, the military regime kept her locked up. But if the generals wished for Suu Kyi to fade into obscurity, they failed. Continued confinement turned her into the world's most famous political prisoner. Emerging from her most recent stint of seven years in detention, she is just as determined to fight for the civil liberties of Burma's 50 million people. "What we are calling for is revolutionary change through peaceful means," she told me when we recently met in Rangoon. "I'm not afraid to say it, and I'm not afraid to ask for all the help I can get."

雪莱的浪漫主义诗歌

雪莱的浪漫主义诗歌第一篇：雪莱的浪漫主义诗歌雪莱是英国浪漫主义民主诗人、第一位社会主义诗人、小说家、哲学家、散文随笔和政论作家、改革家、柏拉图主义者和理想主义者等，以下是小编整理的雪莱的浪漫主义诗歌，欢迎阅读参考！给——温柔的歌声已消逝（英国）雪莱温柔的歌声已消逝，乐音仍在记忆里萦回；紫罗兰花虽然枯死，意识中尚存留着芳菲。

玫瑰花朵一朝谢去，落英堆成恋人的床帏；你去后怀念你的思绪该是爱情在上面安睡。

给玛丽（英国）雪莱哦，亲爱的玛丽，你能在这里多好，你，和你那明亮开朗的棕色的眼睛，你那甜美的话语，似小鸟，向常春藤阴里寂寞忧郁的伴侣倾吐爱情时的啭鸣，那天地间最甜最美的声音！还有你的秀额……更胜过这蔚蓝色意大利的天穹。

亲爱的的玛丽，快来到我的身旁，我失去了健康，当你远在他乡；你对于我，亲爱的，就像黄昏对于西方的星辰，就像日落对于圆满的月亮。

哦，亲爱的玛丽，但愿你在这里，古堡的回声也轻声低语：“在这里！”结语： 1799 年雪莱七岁。

据霍格（Hogg）《雪莱传》引雪莱妹海伦信说：雪莱六岁时即被每日送往一教士处学拉丁文。

第二篇：雪莱经典诗歌导语：诗歌是一种主情的文学体裁，它以抒情的方式，高度凝练，集中地反映社会生活，用丰富的想象、富有节奏感、韵律美的语言和分行排列的形式来抒发思想情感。

下面由小编为大家整理的雪莱经典诗歌，希望可以帮助到大家！《致华兹华斯》讴歌自然的诗人，你曾经挥着泪，看到事物过去了，就永不复返：童年、青春、友情和初恋的光辉，都像美梦般消逝，使你怆然。

这些我也领略。

但有一种损失，你虽然明白，却只有我感到惋惜：你像颗孤星，它的光芒照耀过一只小船，在冬夜的浪涛里；你也曾像一座石彻的避难所，在盲目纷争的人海之中屹立；在光荣的困苦中，你曾经吟唱，把你的歌献给真理与只有之神——现在你抛弃这些，我为你哀伤，前后相比，竟自判若二人。

《诗章》去吧！月下的荒野是如此幽暗，流云已吞没了黄昏最后的余晖：去吧！晚风很快地要把夜雾聚敛，天庭的银光就要被午夜所遮黑。

和室内歌剧《西蒙娜受难曲》一起经历的圣洁之旅

现场LIVE人的生活是不能忍受的。

但只有不幸才会使人感到这一点。

——西蒙娜·韦伊（Simone Weil）作为2019年悉尼艺术节参演剧目，芬兰作曲家凯雅·萨莉亚赫（Kaija Saariaho ）的室内歌剧《西蒙娜受难曲》（La Passion de Simone ）首次在澳大利亚公演。

三场演出的门票全部售罄，不知是因为这部歌剧本身的魅力还是该剧主人公西蒙娜·韦伊（Simone Weil ，1909~1943，法国思想家）的影响力。

就像演出前，邻座的爱尔兰老者派迪问我的一个意味深长的问题：“你是为哲学家还是为歌剧而来？”老实说，对于西蒙娜·韦伊这位20世纪欧洲重要的思想家、哲学家、社会活动家，我没有读过她的作品，并不十分了解，但她短暂的、苦行主义的、且极具奉献精神的一生却让我深深震撼。

据说她6岁时就通过拒绝吃糖的行为来表达自己与法国军队团结一致的决心；她穿男装，退却自身女性特质，只为能更专注于去实现改善弱势群体的社会目标；她从事重体力劳动来体验身体和苦难之痛；她拒绝OUTLINE / Simone Weil bestrode the 20th century as a figure of impossible grace. Acclaimed Finnish composer Kaija Saariaho tells her story through music in her deeply spiritual work La Passion de Simone , which had its Australia premiere at the Sydney Festival. Saariaho’s score is luminous and coruscating, blending a single incre dible soloist with the voice s of The Song Company and nineteen virtuoso instrumentalists.和室内歌剧《西蒙娜受难曲》一起经历的圣洁之旅A sacred journey with La Passion de Simone文：蔡菁© Victor Frankowski接受肺病治疗，拒绝吃比敌占区同胞的定量更多的食物，最终因疾病和自我强加的饥饿在英国伦敦离世，年仅34岁。

弗里达卡罗成为伟大艺术的精神英语作文

弗里达卡罗成为伟大艺术的精神英语作文全文共3篇示例，供读者参考篇1Frida Kahlo: The Spiritual Essence Behind Great ArtIntroductionFrida Kahlo, a Mexican painter known for her unique and bold artistic style, has left a lasting impact on the world of art. Her paintings are filled with raw emotion, vibrant colors, and symbolic imagery that speak to the depths of the human experience. But what made Frida Kahlo's art truly great? In this essay, we will explore the spiritual essence behind Frida Kahlo's art and why it continues to resonate with audiences around the world.The Early YearsFrida Kahlo was born on July 6, 1907, in Coyoacán, Mexico City. She grew up in a politically turbulent time in Mexico, which would later influence her artistic style. As a young woman, Frida suffered a debilitating bus accident that left her in constant pain for the rest of her life. This traumatic experience would become acentral theme in her artwork, as she used her paintings as a way to cope with her physical and emotional pain.The Influence of Mexican Folk ArtOne of the key elements that contributed to the greatness of Frida Kahlo's art was her deep connection to Mexican folk art and culture. Frida was inspired by the vibrant colors, intricate patterns, and symbolic imagery found in traditional Mexican crafts. She often incorporated elements of Mexican folk art, such as skulls, animals, and flowers, into her paintings, creating a visual language that spoke to her cultural identity and heritage.The Power of SurrealismFrida Kahlo was also heavily influenced by surrealism, a artistic movement that sought to unlock the subconscious mind through dream-like imagery. While Frida was not officially a part of the surrealist movement, her paintings often featured surreal elements, such as floating objects, distorted figures, and dream-like landscapes. By blending the real and the unreal, Frida was able to create a vivid and emotionally charged world that resonated with audiences on a deep level.The Role of Pain and SufferingOne of the most striking aspects of Frida Kahlo's art is its raw and honest portrayal of pain and suffering. Throughout her life, Frida endured numerous physical and emotional hardships, from her accident to her tumultuous marriage to fellow artist Diego Rivera. Instead of hiding her pain, Frida embraced it and used it as fuel for her art. Her paintings are filled with images of blood, tears, and broken bodies, yet they also contain a sense of resilience and strength that is truly inspiring.The Feminist VoiceFrida Kahlo was also a trailblazer for women in art. At a time when female artists were often overlooked and marginalized, Frida boldly asserted her presence in the male-dominated art world. She painted self-portraits that challenged traditional notions of beauty and femininity, portraying herself with unibrows, mustaches, and traditional Mexican clothing. Through her art, Frida celebrated the complexity and strength of women, paving the way for future generations of female artists to find their own voices.ConclusionIn conclusion, the greatness of Frida Kahlo's art lies in its spiritual essence. Through her deep connection to Mexican culture, her exploration of surrealism, her willingness to confrontpain and suffering, and her feminist voice, Frida created a body of work that speaks to the universal human experience. Her paintings continue to inspire and resonate with audiences around the world, reminding us of the power of art to heal, provoke, and transform. Frida Kahlo may have passed away in 1954, but her spirit lives on through her timeless and transcendent art.篇2Frida Kahlo: A Spiritual Journey Towards Great ArtFrida Kahlo, a Mexican artist known for her iconicself-portraits, is celebrated as one of the most influential and talented artists of the 20th century. She overcame tremendous physical and emotional challenges in her life, which provided the inspiration for her powerful and evocative artwork. Frida's journey towards becoming a great artist was not only a creative one, but also a spiritual one, as she used her art as a means of self-expression and catharsis.Born in 1907 in Mexico City, Frida Kahlo was exposed to art and culture from a young age, as her father was a photographer and her mother was a devout Catholic. However, tragedy struck when Frida was just six years old, as she contracted polio whichleft her with a limp. Despite this setback, Frida was determined to pursue her passion for art and enrolled in the prestigious National Preparatory School in Mexico City.At the age of 18, Frida was involved in a devastating bus accident that left her with severe injuries, including a broken spinal column, collarbone, ribs, and pelvis. During her long recovery, Frida turned to painting as a way to cope with her physical pain and emotional turmoil. She began creatingself-portraits that revealed her innermost thoughts and feelings, and depicted the physical and emotional scars of her accident.Frida's unique artistic style combined elements of surrealism, symbolism, and folk art, and her bold use of color and imagery set her apart from other artists of her time. Her paintings often featured motifs of indigenous Mexican culture, including traditional dress, flora and fauna, and religious symbols. Frida also explored themes of identity, gender, and sexuality in her work, challenging societal norms and conventions.As Frida's fame and recognition grew, she became a prominent figure in the art world and a symbol of female empowerment and resilience. Despite her physical limitations and chronic pain, Frida continued to create art that was deeply personal and introspective. Her paintings reflected her struggleswith physical and emotional suffering, but also celebrated her strength and perseverance.In 1953, Frida Kahlo passed away at the age of 47, leaving behind a rich legacy of artwork that continues to inspire and captivate audiences around the world. Her paintings are now considered masterpieces of modern art, and her influence can be seen in the work of contemporary artists, writers, and filmmakers.Frida Kahlo's journey towards becoming a great artist was a testament to the power of creativity, resilience, andself-expression. Through her art, Frida was able to transcend her physical limitations and emotional pain, and create a body of work that resonates with audiences to this day. Her legacy serves as a reminder of the importance of art as a means of personal and spiritual expression, and as a reflection of the human experience. Frida Kahlo will always be remembered as a true visionary and pioneer in the world of art.篇3Frida Kahlo: The Spiritual Journey to Great ArtFrida Kahlo, a Mexican painter known for her self-portraits, is considered one of the most influential artists of the 20th century.Her work is characterized by vivid colors, surreal imagery, and a depiction of pain and suffering. Kahlo's life was marked by physical and emotional trauma, and it was through her art that she was able to express her innermost thoughts and feelings.Born in 1907 in Coyoacán, Mexico City, Kahlo's life was marked by tragedy from a young age. At the age of six, she contracted polio, which left her right leg shorter and thinner than the left. Then, at the age of 18, Kahlo was involved in a bus accident that left her with multiple injuries, including a broken spinal column, collarbone, ribs, and pelvis. She spent months recovering in bed, and it was during this time that she began painting.Kahlo's art often depicted the physical and emotional pain that she experienced throughout her life. One of her most famous paintings, "The Two Fridas," shows two versions of herself – one with a broken heart, the other holding a portrait of her ex-husband, Diego Rivera. This painting is believed to represent Kahlo's inner struggle between her love for Rivera and her desire for independence.Despite her physical and emotional hardships, Kahlo's art continued to flourish. She used her paintings as a way to process her pain and suffering, turning her personal experiences intopowerful works of art. Kahlo's work often featured symbols of Mexican culture, such as ex-votos and images of indigenous women, as well as themes of death and rebirth.Kahlo's unique style and powerful imagery have earned her a lasting place in the art world. Her work has inspired countless artists and continues to captivate audiences around the world. By channeling her pain into art, Kahlo was able to transcend her suffering and create something truly extraordinary. She showed us that art has the power to heal and transform, making her not only a great artist but also a spiritual guide for those who are struggling with their own pain and suffering.In conclusion, Frida Kahlo's journey to becoming a great artist was marked by physical and emotional trauma. Through her art, she was able to channel her pain and suffering into something beautiful and profound. Kahlo's work continues to inspire and resonate with audiences around the world, serving as a reminder of the power of art to heal and transform. Frida Kahlo's legacy will undoubtedly continue to influence generations of artists to come.。

不想在毕业前死去

每年每个国家，都会蹦出一部超级好口碑喜剧电影！继日本《罗马浴场》因为漫画式泡汤文化落差剧情， KUSO爆笑情节口耳相传在亚洲各国狂销热卖，另一部西班牙超级卖座喜剧《不想在毕业前死去》也即将引进亚洲！《不想在毕业前死去》片靠人鬼师生爆笑情节与惊笑口碑，创下西班牙近年来最热卖的喜剧电影！大学情未了剧照
演职员表
演职员表参考资料
音乐原声
片头舞曲：Saturday Night - Whigfield 被附身那段：Estoy Aqui - Shakira 结尾校庆插曲：Total Eclipse Of The Heart - Bonnie Tyler（原唱）电影里的是glee cast唱的结尾字幕第一首插曲：San Valentín - Linda Mirada。人物海报
剧情简介
角色海报(9张)教授莫戴斯托不是一名普通教授，因为他时常可以看到死人，这使得他不停地被炒鱿鱼。然而这一次，莫戴斯托的运气似乎好转。他需要帮助五名学生通过最后的考试顺利参加毕业典礼。这五名学生个性都很特别，而且他们有一个共通点：都是多年前死去的死人。莫戴斯托一直把“见鬼”的能力当成诅咒，一直在寻找“医治”的方法，然而最终他发现，这种能力也能够帮助他人。
由于以校园内闹鬼的喜剧题材，已经很久不见，加上充满创意的人鬼师生逗趣情节，以及现代雷鬼嘻哈和80 年代经典怀旧畅销金曲的对比，一连串相差20年的人鬼师生代沟笑翻观众，更卖翻西班牙，有如西班牙版的《那 Biblioteka 年，我们一起追的女孩》的火热程度。
谢谢观看
不想在毕业前死去
西班牙2011年哈维尔·鲁兹·卡尔德拉执导的电影
01 剧情简介
03 音乐原声
目录
02 演职员表 04 影片评价
《不想在毕业前死去》是哈维尔·鲁兹·卡尔德拉执导的校园喜剧电影，由劳尔·阿雷瓦罗、亚力姗德拉·吉蒙内兹主演，于2012年2月3日上映。

玩的不够大，别来Ibiza

104NOBLE LIFE旅游文 _ 本刊记者李明敬如果你不知道Ibiza，就别跟别人讲你很了解Club；如果你没去过Ibiza，就别跟别人讲你混过大PAR；如果你不知道Ibiza，就别跟别人讲你是夜生活玩家；如果你没去过Ibiza，就别跟别人讲你见过世界上最美的日出和日落；如果你没去过Ibiza 的天体海滩，你就别跟别人讲你能玩的有多开……玩的不够大，别来IbizaIbiza(利维萨)位于西班牙巴利阿里群岛链中。

这里是电子音乐的圣地，也是Chill Out 音乐的起源地，更是狂热的俱乐部派对份子朝圣的天堂。

对于喜欢电音的锐舞族来说，全球三大电音派对不容错过，lbiza 岛就是其中之一（另两个分别是印度果阿海滩和泰国帕岸岛）。

这个西班牙小岛一直是喜欢音乐、沙滩和派对的全球潮人的梦中天堂。

每年7、8约，这儿的俱乐部会聚集摇滚明星、大牌DJ，从日落狂欢到日出，他们都迷恋着lbiza。

在这里，每天听音乐、跳舞、晒太阳看日出日落，甚至去天体海滩享受无拘无束，想玩大的，就来lbiza 吧。

电子乐的天堂传说在公元1654年，Ibiza 岛被开发时，它的名字被解做“Island of Bes”，而传说中Bes 是一位通过跳舞和音乐去拜神的半神半人，其实Ibiza 的含义就是跳舞，就是音乐，这里就是音乐和跳舞的天堂，是传说中希腊众神专门为跳舞建造的胜地。

正是因为如此，电子音乐派对和Ibiza 之间结下了深刻的缘分，渐渐吸引了全世界的目光，成为与音乐舞蹈相关的度假胜地。

在这里，不管是Trance、 House、Hip-Hop、Jungle 或雷鬼，全球最顶尖DJ 在沙滩旁的舞厅酒吧里，不停对着沙滩播放着震耳欲聋的音乐，空气中都是狂放热情无国界的自由气息。

到过Ibiza 的音乐人无一不被这里的自然景观与独有的玩乐氛围所吸引，而其中就有一些人因此而定居下来，其中包括Frank Zappa、Yes 的主唱Jon Anderson 、Mike Oldfield、Enigma 的主脑Michael Cretu 、New Order 等。

歌剧院的幽灵中英对照全解

《歌剧院的幽灵》第一章'Quick! Quick! Close the door! It's him!‟ Annie Sorelli ran into the dressing-room, her face white.One of the girls ran and closed the door, and then they all turned to Annie Sorelli.'Who? Where? What's the matter? ' they cried.'It's the ghost!‟ Annie said. 'In the passage. I saw him. He came through the wall in front of me! And…and I saw his face!‟Most of the girls were afraid, but one of them, a tall girl with black hair, laughed.'Pooh!' she said. 'Everybody says they see the Opera ghost, but there isn't really a ghost. You saw a shadow on the wall.' But she did not open the door, or look into the passage.'Lots of people see him,' a second girl said.' Joseph Buquet saw him two days ago. Don't you remember? ' Then all the girls began to talk at once.'Joseph says the ghost is tall and he wears a black evening coat.''He has the head of a dead man, with a yellow face and no nose…''…And no eyes-only black holes!'Then little Meg Giry spoke for the first time. 'Don't talk about him. He doesn't like it. My mother told me.' 'Your mother? ' the girl with black hair said. 'What does your mother know about the ghost? ''She says that Joseph Buquet is a fool. The ghost doesn't like people talking about him, and one day Joseph Buquet is going to be sorry, very sorry.''But what does your mother know? Tell us, tell us!‟ all the girls cried.'Oh dear!‟ said Meg. 'But please don't say a word to any one. You know my mother is the doorkeeper for some of the boxes in the Opera House. Well, Box 5 is the ghost's box! He watches the operas from that box, and sometimes he leaves flowers for my mother!'The ghost has a box! And leaves flowers in it!‟'Oh, Meg, your mother's telling you stories! How can the ghost have a box? ''It's true, it's true, I tell you!‟ Meg said. 'Nobody buys tickets for Box 5, but the ghost always comes to it on opera nights.''So somebody does come there? ' “快！快！关门！是他！”安妮•索雷丽跑进化妆室，脸色苍白。

歌剧院的幽灵3

Chapter 3 Christine DaaéMonsieur Firmin was right. All Paris talked about the new Margarita in Faust, the girl with the beautiful voice, the girl with the voice of an angel. People loved her. They laughed and cried and called for more. Daaé was wonderful, the best singer in the world!菲尔曼先生说对了。

整个巴黎都在谈论歌剧《浮士德》中玛格丽塔的新演唱者，那个有着美妙歌喉的姑娘，那个有着天使一般嗓音的姑娘。

人们热爱她。

他们更多地笑啊喊啊叫啊。

达埃的演唱确实不错，她是世界上最好的歌唱家。

*angel[ˈeɪndʒl] ：天使Behind the stage Meg Giry looked at Annie Sorelli.’ Christine Daaé never sang like that before.’ she said to Annie.’ Why was she so good tonight?'在舞台的后面梅格•吉丽看着安妮•索雷丽。

“克丽斯廷•达埃以前从来没有唱得那么好，”她对安妮说，“为什么她今晚唱得这么好呢？”'Perhaps she's got a new music teacher, 'Annie said.“或许她已经有了一位新的音乐老师。

”安妮说。

The noise in the Opera House went on for a long time. In Box 14, Philippe, the Comte de Chagny, turned to his younger brother and smiled.歌剧院里的喧闹声持续了很长一段时间。

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2. One of several helpful distinctions is between objective interests (what is good for someone) and subjective interests (what someone wants). He suggests using the term ―motivation―(动机）, to mean subjective interests, may provide more clarity than the the term ‖interests‖ which could mean either objective or subjective interests or both. Elements of interest are the underlying concerns, needs, desires or fears behind a negotiator‗s position.—欧莱雅的例子—保湿、润肤、美白和抗皱
3
•
You should be ready in the following aspects? The bargaining mix 综合谈判方案：The bargaining mix is the package of issues up for negotiation. Each item in the bargaining mix, can have its own starting, target and resistance point or initial proposal, expected deal and no deal point/bottom line/reservation point. And you should investigate observe and predict the bargaining mix of your opponents in the IBN. In the bargaining mixes, bottom lines or resistance points of both parties are most important. Why?
2
– Pareto Frontier is the range of outcomes in which the best possible as well as the most efficient deal can occur. It is reached when there is a win-win (双赢）outcome, where nothing is left on the table, and where both parties to the agreement end up feeling like and are winners.— win-win and nothing is left on the table. – Efficiency is measured by comparing the amount of resources expended against the expected benefit. In multi party, multi issue negotiations, it is obviously very difficult to determine efficiency. If it makes the best use of the available resources and leaves as little a as possible on the table, an agreement is efficient. （遗留问题少）
9
Meanings of "position":
• What they publicly claim. For example, an initial offer in anticipation (预期；预料）of a counter offer. • What they hope to achieve. For example, their hoped for settlement. Referred to as, “what a party is committed to”. (Note dependence upon alternatives in next week‘s class.)—Target Point or Expected Deal. • An instrumental device. For example, a claim claimed for its utility(效用；用途） in achieving something else. • An ultimate interest. For example, a claim claimed for itself. Can you provide an example of a claim that has no significance beyond its own achievement?
Part III The Soul of IBN— BATNA—the Best Alternative to Negotiation Agreement
1
• •
What is the BATNA--—thation Agreement? The Best Alternative to a Negotiated Agreement (BATNA) is that solution that can be obtained by completing a different deal with a different party. At worst, a negotiator's BATNA would maintain the status quo (e.g., no deal so things remain as they are). It is one's walk away position. Knowing your BATNA gives you the power to walk away from any negotiation when the emerging deal is not very good. The BATNA include:
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1. Assess what you will do if you don‗t reach an agreement. If you think rationally about your best alternatives to a negotiated agreement, you are better able to risk losing a low payoff outcome. Alternative strengthen your position.—Value of Bottom Line of Our Party 确定我方底线 2. Assess what your current negotiation opponent will do if they do not reach an agreement with you— Value of Bottom Line of Our Opponents 估计和判断对方底线 – The resistance point/no deal point/bottom line/reservation line is the point or line beyond which a negotiator is unwilling to settle. 3. The target point or expected deal point is the point at which a negotiator would like to conclude negotiations. It is his optimistic goal for a specific issue.
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IV. Ensure positions of parties
A. B. Position in IBN is a point of view or attitude on certain questions of parties in IBN. It is a helpful distinction, which is between the objective physical results of what is proposed and the subjective meaning of what is proposed:--P57，“Secret Power Persuasion‖ in English and P52—P53 in Chinese.
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II.
Assess the bargaining zone 1. The bargaining zone or range is the spread between the two parties resistance points. A. Positive Bargaining Range. When a buyer's resistance point is above the seller's resistance point there is a positive bargaining range. B. Negative Bargaining Range. When a seller's resistance point is above the buyer's resistance point. III. Assess the settlement zone: I. The settlement zone consists of the points which overlap between the parties participating in a negotiation. If the bargaining ranges of two negotiators do not overlap, it is unlikely that a settlement will be obtained. It is a range in which settlement can be reached. (成交区间）